Reviews – Page 78

Progradar Best Of 2016 – Leo Trimming’s Top 10

Cosmograf – The Unreasonable Silence

Simply stunning. Robin Armstrong has imagined a rich narrative of alien incursion (or paranoid breakdown?!) with sonic brilliance. The imaginative story is unnerving, whilst the music is captivating on a human level but cinematic in scope – ranging from crunching Purple riffs, through atmospheric acoustic passages to sweeping Floydian soundscapes. Robin Armstrong’s multi-instrumental ability would be nothing without the excellent song writing and fascinating concept of this outstanding album. Undoubtedly, Album of the Year for me, from one of the best Progressive Rock artists of this generation.

(I’ve put Cosmograf as my Album of the year… the rest are in no particular order… they’re all great albums.)

Red Bazar – Tales From The Bookcase

This was my TPA’s review’s conclusion early in the year for this surprise package, and I’ve had no reason to change it since…

‘This is an excellent collaboration: Red Bazar have helped Peter Jones express more of his serious, darker side and also allowed him to display more vocal dexterity. In return Red Bazar have gained a talented and very fine rock vocalist who has added great lyrical skill and vocal feeling to their own fine emotional musical palette…

This may be a bit of a dark horse, but Red Bazar may just have released one of the Prog albums of the year.’

Matthew Parmenter – All Our Yesterdays

A favourite on two levels – it’s a great album of subtle artistry and fine music, and on another level the artist & his music touched me personally. My Progradar review concluded:

‘Matthew Parmenter has stepped aside from the magnificent, gothic group dynamic of Discipline to create a solo work of art suffused with dramatic shades and emotional lyricism, conveying tragedy and hope. This is an album that is likely to captivate and beguile with subtlety and delicate emotion. It certainly gave me unexpected comfort – Inside.’

Nine Stones Close – Leaves

A darkly trippy and psychedelic album. Part dream, part nightmare – this is an album for which repeated listens gradually unpeal the layers, like all the best progressive releases. My Progradar review observed:

‘Nine Stones Close create rich musical landscapes suffused with a sense of the dramatic and psychedelic… They do not stick to their old formula and want to progress. My advice is stick with these guys because you are never quite sure in which direction their songs or this albums may turn, but it sure is an imaginative and fascinating ride!’

Big Big Train – Folklore

A much anticipated release does not disappoint as the album describes modern folklore, ancient legend, elegies for lost love and epic stories of heroism and loss … plus bees (!) in a rich tapestry of folk tinged progressive rock. Lyrically intelligent and insightful, conveyed with integrity and emotion, and played with consummate skill and passion. Impossible to ignore – we all sort of knew it would be great. Of course it’s great!

Marillion – F.E.A.R

This is a remarkable release from the Prog veterans that rightly propelled them back to wider prominence with an album full of anger and insight in to the state of the world, with the dominance and influence of the ‘super rich’. Of course, none of those political thoughts or feelings would count for anything in an album without outstanding music – Marillion have conveyed their message with powerful rock passages and also subtle melody. Three epic songs with ambitious scope are clearly modern and truly ‘Progressive’ without lazily resting on ‘Prog’ tropes. A late contender for album of the year, but who would guess that well over 30 years in to their career that Marillion would pull off an album that truly has something to say about today’s world with such impact and sensitivity, and really mean something. Beautiful at times, dramatic at other times… thought provoking throughout.

The Gift – Why The Sea Is Salt

Let’s get straight to the point – ‘Why the Sea is Salt’ is a truly exceptional album, and deserves to propel The Gift in to the higher echelons of current British Progressive Rock Music. Simple as that – it really is that outstanding. Very few albums indeed have the potential to attain the status of a potential ‘classic’ album, which will live long in the memory like ‘Why the Sea is Salt’. This is a work which greatly appeals to the heart and mind in equal measures, and similarly beguiles and stimulates in its beauty and drama. The Gift have skilfully and beautifully draw upon a variety of influences, inspirations and ideas and artfully crafted them into an imaginative and enjoyable musical experience that touches the heart and stimulates the mind. Just brilliant.

What more could one want from an album?!

Paradigm Shift – Becoming Aware

This is an outstanding album musically and lyrically, with this young band fusing elements of heavy rock, psychedelia, rap, politics and progressive rock tropes in an intoxicating mix.

Paradigm Shift create finely played music based on well known influences with a largely retro feel. It is refreshing to see a new, younger band on the progressive rock scene willing to inject a political but not overwhelming edge to their songs on this very promising debut album, addressing such issues with vigour and passion.

What remains to be seen is whether Paradigm Shift can sustain this very impressive early showing, and how they develop and absorb other influences in the modern progressive music scene. However, with this album I think many progressive rock fans will definitely be ‘Becoming Aware’ of this promising young band.

TILT – Hinterland

TILT have delivered a superb album by a cast of very accomplished musicians. Brilliant vocals, burning guitar solos, a thunderous rhythm section and songwriting of the highest quality combine to deliver one kick ass release that I keep returning to again and again. A fine combination of excellent rock music with all that’s best about progressive rock, these guys show how it really should be done. It is a clever mix of styles with some subdued, complicated sections weaving between the more straightforward rock themes and gives TILT their own definite sense of identity. This is a talented group of musicians who are at the top of their game and it shows.

Yorkston,Thorne and Khan – Everything Sacred

Finally, and completely out of ‘left field’ for me after seeing them at a festival.

What do you get when you combine a talented Scottish folk singer-songwriter, (James Yorkston) with a reknowned double bass jazz player (Jon Thorne) and finally an award winning Sarangi player and classical singer from New Delhi ( Suhail Yusuf Khan)?

You get an album of beguiling beauty, heart breaking emotion and diverse sounds, blending styles and cultures in a fascinating mix. Listen to songs like ‘Broken Wave’ and ‘Everything Sacred’ and try not to dab the corner of your eye. At other times you are drawn in to hypnotic Indian rhythms with hints of folk, and always played with such delicacy and skill.

Is it ‘Prog’? Of course it bloody isn’t!

But what is more ‘Progressive’ than skilfully and intuitively blending musical and cultural influences to create something so new and so beautiful? Go on… challenge yourself – it’s a great album.

Progradar Best Of 2016 – Shawn Dudley’s Top 10

Let’s face it, 2016 has not been the best year in human history, but it has been an exceptionally good year for music. Seemingly every week something new would capture my imagination and become indispensible. Due to the magnitude of choices putting together a year-end list became a daunting exercise.

What follows is not necessarily a traditional “top 10”, it’s a condensed selection of albums that made the most impact on me throughout the year.

Katatonia – The Fall Of Hearts

The Fall of Hearts was the easiest selection for this list; its place has been secure for months. Nobody was more surprised than me as I had previously been ambivalent about Katatonia but this gorgeous, immaculately crafted album completely won me over. It’s a subtle, layered album that bears repeated listening, something I did almost daily for several months. The Fall of Hearts is their most mature and fully realized work to date, a rare instance of a band in their second decade who continue to evolve and improve their already unique sound.
Favorite tracks: Takeover, Last Song Before The Fade, Shifts

Opeth -Sorceress

While the various factions of Opeth fans of different eras clash online, fruitlessly fighting for supremacy…Mikael Akerfeldt continues to laugh and do whatever the hell he wants. Sorceress continues Opeth’s exploration of vintage instrumentation that began with the controversial Heritage in 2011 and the more straight-forward and polished Pale Communion in 2014. Sorceress goes against expectations by going for a rawer, heavier and more experimental approach. It’s a stylistically diverse collection of songs with gorgeous folk rockers, heavy Prog epics and 70s inspired jams co-existing harmoniously.

Favorite tracks: A Fleeting Glance, The Wilde Flowers, The Ward (bonus track)

Messenger – Threnodies

This sadly under-appreciated gem was easily one of the most enjoyable albums I heard all year. Messenger had the ability to work within the sonic framework of classic Prog, the instrumentation and vibe, yet not become a slave to it. Threnodies may offer up flashes of the past via inspiration; Wishbone Ash, Pink Floyd, Black Sabbath, CSN&Y; yet it sounds simultaneously modern and wholly relevant in 2016. Sadly the band has prematurely called it a day, but despite that I wouldn’t want you to miss out on hearing what they’ve left behind.
Favorite tracks: Oracles Of War, Balearic Blue, Celestial Spheres

Seven Impale – Contrapasso

This thoroughly and wonderfully insane sextet from Norway was my favorite discovery of the year. Contrapasso is the type of album it’s best to just experience because describing it accurately is an exercise in futility. You’ll find elements of King Crimson, jazz-fusion, early 70s heavy metal and a love of the absurd, but that still just gives you a vague impression. The mixture of wonderfully heavy guitar and bass riffs, improvisational saxophone excursions and entertainingly theatrical vocals I find completely addictive.
Favorite tracks: Languor, Heresy, Inertia

Gong – Rejoice! I’m Dead!

Guitarist/Vocalist Kavus Torabi makes the first of two appearances on my year-end list. On Rejoice! I’m Dead! he effortlessly carries on the eclectic and joyful Gong; simultaneously a love letter to the recently departed founder Daevid Allen and a thoroughly rewarding work on its own merits. It’s a wonderful collection of brief, quirky rockers and stretched-out fusion jam bliss. I love the sound of this album so much; I can’t help smiling whenever I play it. Who says Prog can’t be fun?
Favorite tracks: Rejoice!, The Unspeakable Stands Revealed, Kapital

Knifeworld – Bottled Out Of Eden

Our second Kavus Torabi appearance is another blast of experimentally playful fun. Knifeworld sets the tone immediately with the thoroughly addictive High Aflame, an artfully arranged pop confection that is the perfect album opener. The horn section allows them to employ voicings that you don’t often here in progressive rock circles, not that this album really fits into the general guidelines of that term. In fact I’m not sure Knifeworld exists within the guidelines of anything but their own imagination. I applaud them.

Oranssi Pazuzu – Värähtelijä

And now for something truly and beautifully frightening. This Finnish quintet has crafted an avant-garde treasure, a mixture of Space Rock, Jazz and caustic Black Metal that is supremely thrilling. The arrangements are incredibly dense, building layer upon layer of guitars, synths and scorched earth vocals that threaten to become atonal cacophony, but deftly remain right on the edge. It’s challenging, intense music, but also contains much beauty. If you’re feeling brave, I highly recommend it.
Favorite tracks: Lahja, Havuluu, Vasemann Kaden Hierarkla

Haken – Affinity

I will admit that the technical end of Prog Metal is not my preferred style. I’ve never been inspired by the Dream Theater end of the spectrum, I can admire the craft, but it doesn’t generally speak to me. Haken is one of the few exceptions, a band whose audacious personality and jaw dropping musicianship manage to always remain entertaining. This is assisted by a welcome amount of dry humor that has a tendency to display itself on occasion. Affinity is their most complex and intricately constructed album yet, maybe not quite as accessible as The Mountain but just as artistically successful. The playfulness shows itself on the epic ‘1985’, a song built entirely on the instrumental sounds of the 80s that never devolves into parody and instead becomes poignant. Haken also continue to outgrow the limitations of Prog Metal, methodically expanding their musical vocabulary into new, unexpected areas. Affinity continues their winning streak of rewarding albums; I look forward to hearing where they go next.
Favorite tracks: The Architect, Red Giant, 1985

Purson – Desire’s Magic Theatre

D.M.T. is Rosalie Cunningham’s love letter to the late 60s psychedelic and early progressive rock scene and the substances that often inspired them. What keeps it from becoming just a curio is the conviction she brings to her songs and how skillfully she applies the vintage instrumental sounds to create the required effect. The influences are plentiful; Hendrix, The Doors, Jethro Tull, Jefferson Airplane, King Crimson, Curved Air; but Rosalie has taken that inspiration and applied it to her own organic and highly enjoyable compositions. It’s a fun album that is worth investigating, with or without the accompanying substances.

Favorite tracks: Electric Landlady, Pedigree Chums, The Bitter Suite

Khemmis – Hunted

In addition to Progressive Rock and Jazz I’ve also been a Heavy Metal fan for over 30 years. I don’t listen to straight-ahead metal very often these days but occasionally I’ll hear something that reawakens that old love of chugging, galloping riffs and thunderous drums. Khemmis is a young band from Denver whose latest album Hunted kicked my ass right and proper. Their sound is a tasty mix of doomy Candlemass/Trouble riffs, dual harmony lead guitars and NWOBHM inspired attitude. Satisfyingly crushing yet consistently melodic and inspired, these guys nail all the metallic requirements with their muscular performances and above-average songwriting. My neck hurts…
Favorite songs: Above The Water, Candlelight, Hunted

Progradar Best of 2016 – Craig Ellis Bacon’s Top 10

Anderson/Stolt – Invention of Knowledge

Expansive and spiritual in the vein of Tales From Topographic Oceans, this album–like all things Yes these days–has sharply divided the prog world’s opinions. And everyone’s got an opinion on this thing. Well, I’m firmly in the camp that Jon Anderson, Roine Stolt, and Co. have gifted us with a masterpiece. The album is a singular experience, a meditative exercise in four movements. The unrelenting positivity might sound out of place for these dark days, but it’s nonetheless needed. Strong contender for album of the year, for those with ears to hear.

Big Big Train – Folklore

Big Big Train keep adding members, and with each addition they get a little–scrap that, they get A LOT–better. I think they’ve hit on a perfect line-up, because they’ve just released a perfect album. They continue here with themes of the English countryside and fading cultural artifacts, rocking a ‘pastoral prog’ approach that owes a lot to Selling England By The Pound and Wind & Wuthering. Be sure to listen to the extended version as released on vinyl and hi-res download.

Childish Gambino – “Awaken, My Love!”
Donald Glover and Ludwig Göransson deliver the funk with plenty of 70’s heart and…well, y’know. There’s lots of organic percussion, fat synths and keys, deep grooves, and vocal effects to fill out the tracks. Childish Gambino keeps things varied here, but centered on those 70’s funk tropes, and somehow manage to inhabit rather than merely imitate. If Prince had released this album in the last few years, it would have been hailed as a renaissance and return to form.

Ben Craven – Last Chance To Hear

Great & Terrible Potions is quite an album to follow up, but Ben Craven has managed it with Last Chance To Hear. Loosely a concept album about the end of the music industry as we’ve known it, this album features William Shatner, prog-a-billy, a spot-on James Bond theme, and even a lovely piano elegy. It’s also a contender for best album art and packaging, with gorgeous designs by Freyja Dean. Cinematic, progressive, singer-songwriter with lush production.

The Fringe – The Fringe

Nick D’Virgilio, Jonas Reingold, Randy McStine. I was sold on the first two names alone, and I wish I had known about the third sooner. Perhaps the album I’ve listened to the most this year, The Fringe incorporates the more alternative rock side of prog into a garage band ethos with my pick for the best production work of the year. The album is stacked with deep grooves, vocal harmonies, and guitar solos. The Fringe are too good to remain a side-project, so here’s hoping that we hear more, and soon.

Frost* – Falling Satellites

Prog has always been a Populist musical venture, however strange that may sound these days. Why shouldn’t pop be progressive, anyway? The latest from Frost* is the most modern-sounding album of the year; it’s ahead of its time, really. All pop music will sound like this in ten years (we can hope). Hooky, layered, accessible, rich, and emotional–it suits a wide range of musical needs.

Steve Hindalong – The Warbler

Incorporating elements of his work with The Choir, The Lost Dogs, and his previous solo album, Steve Hindalong turns in another batch of so very human songs. His descriptive lyrics are so mundane–that is, they essentially capture the mundanity of everyday life–that they bypass our receptors for aesthetic filigree and hit straight at the heart. It’s not unusual for a song to prompt tears, chuckles, and tears again in the course of a verse and chorus. Essentially a singer-songwriter album, the rich production frames the lyrics while never obscuring them. Don’t let the religious backdrop scare you away; this is less of a ‘Christian’ album than what Neal Morse was writing before he was a Christian, and it captures themes of friendship and everyday existence so very well.

Marillion – F.E.A.R

Wow. Of course I want my Prog to be beautiful, grandiose, immersive, but to get one that’s also so…so important? If I were ranking albums, this would have to be #1, and I’ll happily listen to it twice for every person who’s turned off by the message. Political prog at it’s finest, and Mark Kelly is going to win an award for his keys on this album, right

Muriah Rose – Beneath The Clay

Muriah Rose hits the ground running with this gorgeous debut, comprising folk, country, Americana, and singer-songwriter forms recalling The Carter Family, Julie Miller, and The Byrds. Beneath The Clay is Appalachian music through and through, not only musically but thematically and emotionally. Her husband, Bill Mallonee, holds down the rhythm section and adds textured guitar, but Muriah’s voice and lyrics stand front and center in the spotlight, where they belong.

Devin Townsend Project – Transcendence

Continuing in the vein of Sky Blue but with some Ocean Machine thrown in for good measure, Transcendence finds Devin Townsend working the “emotional mid-tempo rock” thing the DTP have perfected over the last several years, except that here they perfect it even a little more. While I’d love to hear more of Anneke Van Giersbergen’s vocals, the decision to lean on her vocals a little less really brings Dave Young’s guitar and Mike St-Jean’s keys more to the forefront. It’s not just marketing, folks: this album sounds less like a Project and more like a band effort. Nolly’s mixing and production also add some breathing room to Devy’s typically dense arrangements. It’s heavy, proggy, inspirational, and good.

Progradar Best of 2016 – David Elliott’s Top 10

Here’s my Top Ten, in no particular order. You can disagree with me as much as you want, but I’m still right. Bad Elephant Music releases are excluded. I don’t want to die.

The Dowling Poole – One Hyde Park

Superb pop album from Willie Dowling and Jon Poole. Makes you smile throughout. Perfect to cheer up a cold winter day.

Afro Celt Sound System – The Source

Earthier and less electronic than their previous releases, Afro Celt redux! An album will never be as amazing as their sizzling live shows, but this comes pretty close.

Sand – A Sleeper,Just Awake

Sam Healy (North Atlantic Oscillation) does a spiffing solo project. The first Sand album was lovely, this one is even better.

Frost* – Falling Satellites

Well worth waiting for. It takes something to beat Milliontown – this might just be it.

Thank You Scientist – Stranger Heads Prevail

Fun, funky and far out. Progressive rock US-style. I dare you not to dance to ‘Mr. Invisible’.

North Sea Radio Orchestra – Dronne

Simply sublime. Music at its unclassifiable best. I can’t describe it, but you MUST hear it.

Bent Knee – Say So

More art-rock madness from t’other side of the Atlantic. Courtney Swain’s high-drama vocal delivery backed by equally striking instrumental performances. Utterly captivating.

Knifeworld – Bottled Out Of Eden

The fullest realisation of Kavus Torabi’s unique musical vision. More bassoon!

Karmakanic – DOT

Probably my favourite full-on prog release of the year, BEM albums excluded. Karmakanic are sounding like a band these days, rather than a project.

Gong – Rejoice! I’m Dead!

Even Daevid Allen’s death couldn’t stop Gong from continuing. That man Torabi again, but although the voice is his, the music is undeniably Gong.

Progradar Best of 2016 – Emma Roebuck’s Top 10

Emma’s 10 for the year November 2015 to November 2016. It’s difficult to select 10 out of a whole year of frankly remarkable music. This selection is based on what I have listened to outside my radio show and reviewing schedule. No doubt I will change it in 2 days or more but this is the list as I type the words. I have looked at the albums I have played most at home or in the car since I acquired them. I apologise to any I have omitted but 10 is 10 and there has to be a line. It is not because the quality is less but more that these albums have spoken to me more than others. I think it is representative of what the year has given us musically from the independent sector to the ones with recording deals.

Red Bazar – Tales From The Bookcase

What can be said about this out of the Blue album that already hasn’t? A good instrumental band gets access to a vocal talent in the extreme that is a bit of a musical polymath. You get the final ingredient they needed. You get a collection of storytelling songs that bode well for the future of good solid melodic Progressive rock that is a delight to ears.

Steve Thorne – Island of the Imbeciles

Brooding, insightful, dark and political, no, not my facebook posts but Mr Thorne’s latest output. I have returned to this album again and again this year. He captured the zeitgeist so well in this album. The songs stand up to repeated listening and are musically outstanding as well as lyrically. He has the ability for the melancholic which suits me down to the ground.

Birdeatsbaby – Tanta Furia

One of my more oddball, leftfield choices for the Prog scene, their publicist asked me to give it a listen and I duly obliged. What hit me straight away is the desire to just follow their path no matter what genre they were placed in by others. This is high energy music where a Gothic mentality meets Prog avante guard and adds a little Lana Del Rey. Yet it is all about the song not the ability to play. It’s dark and seedy, the world of Birdeatsbaby but worth a visit.

Kyros – Vox Humana

Adam changes a band name and then gets a band to make an album by a band rather than a solo project with musicians helping. It’s a jump in maturity for the song writing and although not an actual concept it is a thematic album on the “Human Condition”. I look forward to seeing this album brought to life on stage live.

Drifting Sun- Safe Asylum

This is Neo prog in its finest tradition. I played a track from this to a fellow DJ at Progzilla Radio and he was blown away in a fit of nostalgia for the days of a renown pub in Walthamstow. It is neo Prog of the highest standard. Full on, no holds barred and unashamed in where it comes from and long may it remain so.

Under A Banner – TheWild Places

If you have ever seen New Model Army or the Pogues then you’ll have some idea of the passion and power in this music. Add a strong political lyrical undercurrent and a joyous love of the music with a progressive ideology then you get a vague idea of what the music is all about but you must listen to the album to get the impact. It felt like a slap in the face. The raw power yet the sophisticated arrangements and music. Despite coming from a strong folk tradition it screams ‘hear me and be stirred’.

We Are Kin – …and i know…

We Are Kin come out with a second album on Bad Elephant Music. The previous album was a studio project using musicians to add to the core tracks of the composers and was not really designed for live performance and, as such, felt like a studio project, a good one, but it was more of a compositional process. ‘…and I know… feels like a band has gone into a studio and a written and album together. The flow and format gives strength and depth. They are part of an up and coming group of new “Prog” outfits coming up that give me hope for the future of music in general not just the progressive scene.

Tilt – Hinterland

I have said it before but, like Dylan’s backing group stepping out from behind the star to take centre stage (as an independent band writing their own music and doing a great job), TILT have stepped up from being behind that talented behemoth Fish and found another amazing vocal talent and given freedom to some amazing power prog that any band would be proud of making. I need to see these guys live and Prog Dreams seems like a great festival to do it.

Napiers Bones – Hell and High Water

A truly artistically independent effort, Gordon and Nathan live over 250 miles apart, one close to the wilds of Yorkshire moors and the other in Dartmoor. These places form a cornerstone of their inspiration and writing. This album I reviewed for Progradar when it came out and was knocked back that not only was this album being given freely but also the rest of their catalogue was free too. Very well written and produced storytelling of a high standard. Classic Prog coming from the local mythology of both localities this is music that needs a wide audience.

Maschine – Naturalis

The perpetually busy Mr Machin gets the time to write his own stuff and put out an album that feels considerably mature and still full of the passion and energy only the young seem to be able to maintain. I am a fan of great musicianship but never at the cost of the music. Maschine strike this balance very well indeed. This is another thematic album this one on the struggle between man and the natural world. The future of Prog is in safe hands.

I suppose I should state the struggle I had getting these 10 from the amazing releases that 2016 has had has been huge. The list of bands not in here because of making my criteria so strict is immense – Cosmograf, Opeth , I am The Manic Whale, Kate Bush, Verbal Delirium, Marillion, Steven Wilson, Van Der Graaf Generator, Twice Bitten, jH , The Tirith etc etc etc . These albums in my selection have the highest personal play numbers of any others in my list. I commend you to try them but also do not be afraid to listen to an album from any act despite having never heard of them. With streaming from most sites now like Bandcamp you can try before you buy. Go on you know you want to.

Progradar Best of 2016 – Rob Fisher’s Top Ten

We are going to end 2016 at Progradar with a selection of ‘Top 10’ picks. I have asked as many contributors as would like to join in the fun to give me their best 10 albums of the year. Here we start with Rob Fisher‘s selections.

Flux – Shadowlines

I had the absolute pleasure of seeing Flux perform at the Darbar Festival in London’s South Bank. They gave a superb and truly heart warming rendition of songs from their uplifting debut album ‘Shadowlines’. Since first hearing it earlier in the year I have been championing their music which is alive, fresh and above all joyful. There is an alluring blend of eclectic influences from around the world, stamped with a unique style and identity which exudes a passion for life through elegant melodies, exquisite playing and energetic rhythms.

Frost* – Falling Satellites

Glorious, sizzling, pulsating walls of sound. This is truly modern prog, aware of contemporary influences and absorbing modern ideas and sounds. It is a triumphant and shamelessly inventive experiment on how to do prog in the 21^st Century, using sounds and techniques belonging to other musical contexts but making them your own. The result is a breathtaking adventure through expansive soundscapes, fascinating samplings and an album which stands as a shining beacon for genuinely creative and dynamic song writing.

Southern Empire – Southern Empire

Inspired, powerful song writing and intense levels of technical and musical virtuosity combine to create a debut album which does exemplary justice to both aspects of the term ‘progressive’ and ‘rock’. Sean Timms masterfully weaves intelligent lyrical insights with textured layers of expressive and compelling music which are psychologically perceptive, full of emotional insight and brimming with melodic creativity.

Thence – We Are Left With A Song

Thence have created what is, in effect, the soundtrack for life in the 21^st century. It is an album which bristles with creativity, dynamism and enthusiasm, bringing together elements of orchestral and classical music, jazz, blues, rock and metal. The music ripples with stark contrasts, using sweeping and scintillating soundscapes to mirror the noisy backgrounds against which we live our lives. The vocals are buried in music which is humming with layers of distorted guitars, yet emerging into crystal clear oases of melodic calm and clarity. Enthralling.

Karibow – Holophinium
You can understand why Oliver Rüsing needed a two-cd release for the latest instalment of musical excellence from Karibow. The vision which inspires the album is majestic and sweeping in scope, telling stories of poignant self-discovery through vivid symphonic landscapes which are an exhilarating journey in delightfully imaginative musical creativity. From the outset you are fully engaged both intellectually as well emotionally in music which is hauntingly textured and beautifully expressed.

Damian Wilson – Built For Fighting

What an unexpected revelation and delight this fourth studio release from Damian Wilson really is. Penetrating lyrical vignettes tell poignant and moving stories, sung in a voice that portrays simply staggering levels of expression, emotion and passion. At the heart of it is the conflict between our biological and physical make up suited for life as a perpetual battle for survival, on the other the recognition that there is a kinder and gentler way of living. A remarkable and heart-breaking release.

Kaipa Da Capo – Dårskapens Monotoni

As soon as you hear the opening bars of this elegant and imposing album you both know and you feel as if you are home. Reuniting the original members of Kaipa from the mid 70’s, lush musical landscapes are built around smouldering keyboards, breath-taking guitar work, powerful bass and intricate drumming. This is prog as it was always meant to be, lovingly crafted and exquisitely played in songs which capture a bluesy, symphonic and deeply satisfying mood.

Dec Burke – Book Of Secrets

A fiercely intelligent and highly perceptive hymn to the pendulum of life as it swings between joy and despair. The album is boundlessly energetic, infused with power, drive and focus. There is an infectious conviction to the music which is expressed in a diverse mixture of styles, moods and competing instrumental emphases. The songs are incisive, vigorous and dynamic, filled with a strong sense of character and purpose.

T – Epistrophobia

A late entry to the 2016 list of releases, T’s follow up album to the fiercely powerful Fragmentropy illustrates that all good things come to those who wait. Despite having a more symphonic and even melodic character, Epistrophobia is intellectually intense and emotionally provocative in equal measure. T’s music has always demanded your time and attention when listening in return for the rewards it eventually yields and this is no exception. Profoundly brilliant.

Oak – Lighthouse

A third debut album makes my top 10 for 2016. Lighthouse is wonderfully charming and, the more you hear it, affectionately endearing. The album is a fusion and mixture of all sorts of feelings, experiences, thoughts and emotions which is expressed in music which has a vitality and dynamism that lifts you up, carries you along and sets you down again as it explores the joys and the agonies of being alive. Upbeat instrumental work builds foundations for energetic landscapes and highly melodic harmonies.

Review – Sills & Smith – Echoes In Time – by Progradar

“Douglas Adams got it wrong, ’42’ is not the meaning of life (the universe and everything), no, the meaning of life is music…” – Martin Hutchinson

You’ve read my reviews before, most of the time I search for an inspirational quote about music. How music affects me on a personal level or how music can just make your life worth living and this world we live in a much better place to be.

Well, this time, I came up with the quote all on my own. I honestly feel that my life would be so much poorer without the impact that the music I listen to has on it. Don’t get me wrong, I really cannot connect with chart music but there are those out there that take their daily fill of it and it makes their world better.

I just feel that music that is written from the heart and because of the artists love of music (and not necessarily for commercial gain) has even more power to affect your life and sooth your soul. It transports you temporarily to a world of your own imagination, where you can go to recharge your batteries and let the tiredness of the daily grind wash away.

Well it happened again, this time it was an email from Frank Smith, of Canadian artists Sills & Smith, asking me if I would like to have a listen to their music with a view to reviewing their last release ‘Echoes In Time’, which came out at the end of 2015.

I duly did and you may have gathered, by the simple fact that I am writing this review now, that I really liked it enough to want to explore more.

Sills & Smith, led by Ottawa singer-songwriters Jeremy Sills and Frank Smith, has independently released five studio albums of music that boldly blend and bend elements of folk, alternative rock, progressive rock, with hints of blues and jazz. The new album ‘Echoes In Time’ features 13 powerful, melodic original songs; the boldest Sills & Smith musical adventure to date.

‘Echoes in Time’ features a stellar cast of players, with the core group: Frank Smith (words/music, vocals); Jeremy Sills (music, vocals, acoustic guitars, piano, trumpet); Phillip Victor Bova (recording engineer/producer, electric and acoustic bass) and T. Bruce Wittet (drums/percussion). Brilliant supporting musicians include: Kevin Breit – electric guitars and mandolin, Blair Michael Hogan – electric guitars, Roddy Ellias – electric guitar, Jim McDowell – organs, Don Wallace – electric guitars, Tara Holloway – vocals and Linsey Wellman – saxophone.

Grace Smith designed the beautiful, four panel digipak CD edition of the album.

The opening track We Are Receiving is a delicate and winsome beauty. The tender guitar and plaintive trumpet give the song a beautiful fragility, a gossamer thin veil that is pierced by the low down vocal of the verse. The harmonised chorus is a study in refinement and the use of the polished mandolin is genius. It’s almost like an upmarket folk song and really leaves me feeling relaxed and in a state of wonderful reflection, utterly delightful. Altogether more serious and contemplative, Slicing Up The Clouds is sombre and melancholy in feel with mournful vocals and an almost funereal rhythm from the drums and the bass. There’s a darkly delicious undertone to the track, one that drags you into the dreamscape unable to resist. There is an overriding opaqueness to this song, a tenebrous feeling of walking down an unlit path, not knowing what is to come. The guitars have a real abrasiveness to them, insinuating themselves into your psyche and, as the song comes to its menacing close, I can’t help but feel slightly chilled and scared. The Chalice/The Blade is a really laid back song with some tranquil and serene vocals that are matched by the carefree and breezy guitar that runs throughout this enchanting track. This is music that is happy to just tread water, no particular place to go and no rush to get there, Calming and relaxing, you are invited to unwind and let yourself go. Sunny days and warm nights are what come to mind, a nostalgic look to the past when life seemed so easy. The guitar playing is brilliant, almost free-form and jazzy, leaving little notes of sophistication hanging in the air and the repeated chorus accentuates the aura of serene sophistication.

The first thing that grabs you on One Step Behind is the incredibly emotive saxophone, the playing is just superb. There is a barely kept feeling that all is well to the outside world but, underneath, all could come crashing down. The wistful guitar and melancholy vocal have an ageless feel to them, a story long in the telling perhaps, and they keep your attention rapt on this pensive and thoughtful track. As it comes to a close I am left with the loudness of silence. That slightly disconsolate musing is carried over to They Don’t Come Knocking, another incredibly deep track that begs your understanding. The slow pace and deliberate vocal just add incredible amounts of meaning and the achingly elegant guitar speaks of decades of questioning and inquisition. There is no happiness here, just an eternal grace and fortitude. The Cimmerian shade is lifted slightly by the upbeat tempo of Reverberations with its 50’s sounding twanging guitars. The lyrics have a real feeling of Americana to them and I really find myself getting drawn into the stark joy that emanates from this song. There’s almost a feel of a more serious R.E.M (if that is even possible!) to this track, a grown up humour that underpins everything, keeping it in check.

Hillbilly blues with a hint of jazz? Well, that’s about the best way I can describe the oddball delights of I Was Really Something, a song that has a real tongue in cheek irreverent humour running smack down the middle of it. The organ playing really gives it an almost vaudevillian tempo and vibe, it’s like Twin Peaks meets The Rocky Horror Show with a Gothic twist and I really like it, the vocals are great and the guitar just seems to have a mind of its own. The humour seems to take a back seat but that 50’s aura doesn’t leave. Echoes takes the impudence and wit of the B52s and covers it in lashing of black humour, especially that really catchy organ sound. The vocals are serious and monotone, giving gravitas but I can’t help smiling. The ability of Sills & Smith to effortlessly switch between sounds and genres is mightily impressive. Now onto the superb, dark hues of the bluesy The News. Again that slightly unreal ‘Twin Peaks’ feel persists, as if things aren’t quite what you think they are, the edgy, humourless vocal giving nothing away. What really stands out on this track is the outlandishly guitar playing, like blues on steroids and it gives the song a sort of modern western/mariachi soundtrack to it, added to the haunting organ note, it really is something. This is a track that I like to play with the lights right down low and at full volume, it is quite disconcerting but wondrously so and would grace any Tarantino film as it takes you into a world of modern fantasy. Listen right to the end and you will even hear the guitar go all Carlos Santana on you, utterly mesmerising.

Time to go all R&B on us now, After The Smoke Clears is a really nice track with some great guitar playing and a captivating vocal. Clever, insightful lyrics delivered with heartfelt feeling give it some real class and the music has a real 80’s George Benson undertone with the wah-wah pedal working overtime. A lament to things lost but delivered with panache and flair. A folk song at heart, Is The Mirror Reflecting You ? has a really solemn vocal and pared back instrumentals that give it an austere dignity. Time seems to stand still as this refined track carries on its serene journey. The humble vocals and subtle music have an intangible depth to them and this song leaves your heart open and raw with feeling. The Sacred Valley has a noble grace to it, the pure and uncomplicated music and restrained vocal give an overall pastoral tone to the song. There is something to be said for uncomplicated music that wears its heart on its sleeve, what you see is what you get and this elegant track is exactly that. The simple sentiment that is at the heart of everything is one we can all relate to and this lovely piece of music will put everyone in touch with their innermost self. This intense and fascinating musical journey is brought to a close by Pick Me Up With A Song, a country/folk track that has hints of Dylan to it in the vocal and guitar. Simple, dignified and with a message that we can all take to heart, this song just seemed to have a calming effect on me and left me composed, relaxed and in a place I was exceedingly happy to be.

Wherever you look, you will always find music that captivates and intrigues. We now live in a world where superb music is the norm rather than the exception but some music will always stand out from the crowd, even if it is a rather impressive crowd. The musical capabilities of Sills & Smith are such that ‘Echoes In Time’ isn’t just a really good album, it is a great one and one that I must heartily recommend to any lover of great music and excellent songwriting.

Released 10th November 2016

Buy ‘Echoes In Time’ from bandcamp

Review – Les Penning – Belerion – by Kevin Thompson

As a boy, for most of us, the way into music at school was by learning the recorder, wooden for the posh lads and plastic for the rest of us, although I did eventually get a wooden one. A class full of fumbling fingers covering various holes on the instrument (keep it clean please), to produce a range of notes that the music teacher desperately tried to knit together into some semblance of a tune. It has to be said that no one I know mastered the recorder whilst at school and took it up professionally. On leaving the establishment, mine was confined to a box along with my slide rule, action man and trigonometry books to eventually find their way to a table at the local jumble sale.

As a teenager listening to the music of Mike Oldfield was a real eye opener and seemed mind blowing that someone could play so many instruments. There were of course guests of renowned proficiency sometimes invited to appear, one of these being Les Penning on recorder for the album ‘Ommadawn’ and hit singles In Dulce Jubilo and Portsmouth. And yet, in my glib tender youth, it was easy to overlook the contributions of those around him and focus purely on Mr Oldfield’s creativity.

And so it has been until recently when multi-instrumentalist and all round nice guy Rob Reed recorded his self penned homage to the music style of Mike Oldfield, ‘Sanctuary’, and follow up ‘Sanctuary II’, with Les guesting on the latter. Now older, and I like to think a little wiser, I am more inclined to investigate music I like in depth and appreciate all the musicians involved. To this end I now find I have the pleasure of reviewing Les’ album ‘Belerion’, who’s gestation during the Oldfield years has only now come to fruition, thanks to the wonderful Mr Reed and contributions of former ELO2 singer/guitarist, Phil Bates.

Here’s the homework bit: Belerion is an ancient name given to Cornwall that has been translated as meaning “Shining Land” as well as “Seat of Storms”, both quite apt descriptions of the area. The photo on the cover, if I’m not mistaken (I’m sure someone will be quick to correct me if I am), is of Boscawen-un Stone Circle, just west of Penzance and before my head explodes with new found knowledge let us proceed to the album. Ladies and Gentlemen pray take your partners and places for the merry dance that is Belerion.

Opening with a gentler version than Mike Oldfield’s, of the traditional tune Portsmouth, we are transported to the glorious English coastal fields on a summers day, overlooking Portsdown Hill to the Solent beyond with birds swooping and soaring to a backdrop of blue waters topped with the froth of white horsetail waves. You’ll find nothing so brash as heavy bass or thundering drums with screaming guitar riffs in this musical world. Instead we are enchanted with the delights of the Bodhran, Crumhorn and Loriman pipe among the instruments used.

St Clement’s Isle is a small rocky islet once the home to an ancient hermit and lies just offshore of the harbour wall to Mousehole (pronounced “Mowzel”) one of Cornwall’s most picturesque hamlets. It is also the title of the first original tune penned by Les on the album. It’s impossible to separate the tunes from the background stories as they weave such wonderful pictures in your head and whilst they hark back to an earlier, more innocent age they have a timeless air.

All of the tunes on the album are very pleasing, including foot tapper Nobody’s Jig, taken from a dancing manual first published by John Playford in 1651 and containing the music and instructions for English Country Dances.

The gentle refrains of Easter 84 will have you happily strolling along a country lane, with the warmth of the sun on your neck, marveling at mother Natures’ beauty. A fitting contribution in memory of a friend.

It’s impossible not to think of Oldfield’s earlier work and Rob Reed‘s music (hardly surprising as he contributes to this album) but this is to no detriment as Belerion neatly stitches them all together like golden thread weaved into a musical coat of many colours.

Look lively Gents, to your partners for Selinger’s Round, a twisting little folk dance. Spin the Ladies round and watch as their skirts twirl to the music. Also known as The Begining of the World, it’s another foot tapping number.

And yet more brisk fare as we are whisked along to a breezy rendition of the old familiar 17^th Century marching song British Grenadiers. A great little interpretation with a rousing climax.

Slow it down to catch your breath as Les leads us through the historical landscape of the renaissance tune Tower Hill, written originally by baroque composer Giles Farnaby.

Dance across The Baskerville Down with Les to the Baskerville Arms, a hotel where he wrote this little ditty and has sometimes performed.

The album oozes happiness and joy, even The Stones Feel Warm in Belerion, you can lay back on the sun kissed grass watching the clouds float slowly by, whilst listening to this peaceful number dedicated to Les’ friends.

But it’s not all about sunshine and balmy summers’ days, there is warmth to be found for all seasons in our hearts. Gather round the Christmas tree, see the flames rise on the fire as the logs spit and spark. Move the coffee table from the centre of the room, roll up the rug and manoeuvre your loved ones round the space to a jaunty celebration of the traditional Sussex Carol. Quite apt for the time of year.

After your exertions, recline with a fine mulled beverage as you take in the sparkling Bach Minuet, I’ll let you figure out who originally wrote this and who it was for, about time you did some of the homework.

A brief self-penned number from our venerable Pied Piper in Quirk, which squeezes in some strange musical patterns given the short running time, before we reach the ‘epic’ of the album.

Running in at 7:09 minutes, the penultimate Lyme (For Louise) is by far the longest track and is another original piece written by Les. He calls it dream music and if the mention of a military style, marching drum backing makes you think otherwise, trust me it is very soothing and relaxing.

The ribbon round this delightfully wrapped package comes courtesy of His Rest another dusted off tune of Mr Farnaby’s, to see us out and give Les the chance to put his feet up. He can rest easy in the knowledge he breathes a modern air over the traditional songs which fit smoothly in with his own. You don’t have to be a Folk fan to like this album it is lovely music and can be enjoyed by all without having to don your straw hat and bells, revel in the most excellent musicianship. Maybe I should have practised more at school….

Released 1st December 2016

The 14 track CD is accompanied by a DVD that features an interview with Les where he discusses his career and the period in the mid 1970’s when those famous tracks were made. There are also promo videos for two of the pieces.

Buy ‘Belerion’ here

Review – Patchwork Cacophony – Five of Cups – by Progradar

There’s been a lot of discussion recently about a loss of ‘value’ to music, in the sense that people seem to think that they should be able to listen to it for free, either via streaming services such as Spotify and Apple Music or by illegally downloading it from the plethora of music sharing websites that haunt the internet.

What hasn’t helped is the fact that now virtually anybody can make an album in their bedroom with a laptop and, unfortunately, virtually all these so called ‘records’ are of very poor quality. To be fair, I’d be a bit hacked off if I’d spent £10 on a piece of music that sounded like caterwauling cats singing over somebody’s guitar lessons but the majority of music is still made over a lengthy period of time by artists who put their heart and soul (plus a not unreasonable sum of money) into creating these musical gems.

To have that devalued by the marketplace as it is now must be heartbreaking, especially when you are a multi-instrumentalist who actually plays virtually all the instruments on a new release, as well as writing all the songs and producing and engineering their works of art.

A message came into Progradar from Ben Bell, the multi-instrumentalist behind Patchwork Cacophony, asking if I’d take a listen to his latest release ‘Five of Cups’. I duly did and was intrigued to find out more…

Ben first came to prominence as the keyboard player, co-composer and producer on Fusion 2 Orchestra‘s acclaimed 2013 album ‘Casting Shadows’. When I started waxing lyrical about his new release on social media, it also came to light that he is the new keyboard player for my favourite cult prog-rock outfit Gandalf’s Fist and this was pointed out to me by my friend (and Fist’s drummer) Stefan Hepe.

He released his debut solo work, ‘Patchwork Cacophony’, independently (and with little fanfare) in 2014 and it immediately garnered glowing reviews for its distinctive take on classic symphonic prog. The trademark multi-layered vocals, effortless mixing of styles and intricate instrumental passages earned him wide-spread praise as a ‘huge talent’.

The follow up album, which I’m reviewing here, ‘Five of Cups’ sees a further development of Patchwork Cacophony‘s sonic identity and Ben also welcomes guest guitarists in Marcus Taylor and veteran live session musician Tim Hall.

The album opens with the four part Fairytale (Parts 1-4) and part 1 is the wonderfully atmospheric instrumental Are You Sitting Comfortably? and then we segue into the breezy and upbeat keyboard heavy progness of Once Upon A Time. We get to hear Ben’s unique vocals for the first time and they fit the classically progressive music perfectly. The musical interplay is excellent and you really wonder how one guy does it on his own! There’s a real polish to the keyboard playing that makes it hugely infectious and I was hooked the first time I heard it. Ben’s skill on all the instruments is very impressive, the rhythm section of the dynamic drums and the funky bass especially. I think I may stumbled upon something special here…We take the instrumental route again with The Wonder Of It All, a wonderfully quirky track that has its own ideas and agenda. Cheerfully buoyant and optimistic, the instruments seem to bounce of each other with reckless abandon and without a care in the world. It is a really refreshing song that puts a spring in your step and Ben’s fingers fly fluently around the keyboards with enough energy and gusto to put even Rick Wakeman to shame! The last part is called Life Is Not A Fairytale and opens with Ben’s rather sombre piano, all the spark and joy of the previous track replaced with a more serious and morose overtone. It is a beautiful tune though and one that almost brings a lump to your throat when the delicate and fragile vocals begin. There’s an almost melancholy edge to Ben’s voice which is emphasised by the graceful notes that emanate from the elegant piano playing. There’s a serious, if thoughtful, message coming from this song and one that we should take notice of, I am left in a deeply reflective frame of mind as this four-part gem comes to a sober and solemn close.

Choices brings back that busy feeling with the energy and dynamism of the opening keyboards and drums that give it an early Yes feel. Quite frantic and yet structured and deliberate, the track opens up with Ben’s precise vocal delivery and takes on a persona not unlike a hyperactive Billy Joel. There is definitely a feeling that Ben has lifted his ambitions on this release and this stylish track is evidence of that. Just check out the infectious Hammond organ that races through the centre of the track, it’s brilliant. Counting Chickens opens with a piano/keyboard combo that brings to mind Changes from Yes, with its catchy and repetitive tempo. It goes on to become a really inventive song with Ben’s signature keyboard virtuosity stamped large all over it. There’s a calmness that falls over the track, a laid back feel before that piano led mantra begins again, addictive and really enjoyable. A great instrumental that I keep returning to again and again.

Like Pink Floyd’s lesser known (but better looking) brother, Maybe strides confidently into the arena on a wave of elegant drums and edgy, funky guitars. This is where Ben takes a step back and lets one of his stellar guests take over and Marcus Taylor really does the business with some superb guitar playing. Ben’s vocal goes up a notch, full of angst and barely concealed anger and it is a great vocal performance. There’s a nice instrumental section that builds up to a rather tasty guitar solo, full of power and emotion, Marcus really reaches the heights on this one. Overall it is a song brimming with energy and disquiet and one that really shows the direction Ben is heading in with its focus and sophistication. A shortish epic at just over nine minutes, Every Day is an immersive and contemplative listen and one that gets the headphones treatment from me, to better enjoy its subtleties. A low down vocal and jazzy instrumentals give it a polished feel, in fact, it is probably the most jazz oriented track on the album with some interesting time signatures and a hesitant pace. Take your foot of the pedal and step of the incessant treadmill of life and let this calm and collected piece of music just wash over you as if you don’t have a care in the world.The middle part of the song is almost like a sci-fi soundtrack, bringing to mind epics such as 2001:A Space Odyssey and the like with its mysterious and cryptic keyboards leading the way before we are treated to synth heaven and Ben gets to show off a little, a really inventive and satisfying track that stays long in the memory.

Chasing Rainbows is a hectic, agitated and frenzied song that really smacks of Ben Folds Five on acid to my ears most of the time. Ben’s vocal has a harder, almost distraught edge and the music is full of nervous energy as it goes from animated note to animated note. A real uptempo and tumultuous jazz-infused track that you seem to feed off and become fevered yourself. There’s a sudden and sharp change of focus and feel half way through where an elegant piano brings order and calm to the chaos and enables you to get your breath back, not for long though as an insistent piano note precedes the return of the tumult, turmoil and barely concealed anger, what a great ‘in your face piece’ of music.

A haunting piano refrain opens the nostalgic and wistful instrumental of From A Spark. Dignified and ornate as if from a bygone era of cultured gentility, the piano leaves tasteful notes on your mind as it weaves its graceful and cultured path through your psyche and leaves its mark on your very soul. Bewitching and captivating, it brings the whole world to a stop for nearly seven minutes to listen and take in its restrained grandeur.

The final song on the album is the masterful splendour of Brand New Day, over twelve minutes of progressive rock that really knows its chops. The opening is all pomp and circumstance with the energetic rhythm section aiding and abetting the compelling keyboards and Tim Hall‘s potent guitar. It opens up into a classic track full of nods to the great progressive tracks of the past. Ben’s vocal is full of intent and gives the song the grounding that lets the instruments take over the show with no need for restraint. There are time changes galore and Ben plays a bewildering number of different instruments throughout this intricately complicated and lengthy work, just sit back and enjoy what is laid before you. You hear little deft homages to the likes of Camel, Yes, Genesis and even IQ as Ben opens up and runs through his full repertoire of talents. Moments of quiet contemplation mix with elaborate instrumental interplays and yet the undoubted talent of this musician never overshadows the music itself. Tim’s guitar is always there waiting to explode into the burning solos that appear towards the end of this mightily impressive song and I am just left feeling very humble and inadequate at the incredible skill and aptitude to be found in Ben Bell.

There is intelligence and a wry humour than runs throughout this remarkable album. Ben Bell has an immense talent and really knows how to put it to good use. Intelligently crafted songs that make you want to listen to them show him to be a great songwriter and what he delivers proves what a notable musician he is as well. In the world of progressive rock a new star is set to rise.

Released 7th November 2016

Buy Five Of Cups’ direct from the artist.

Listen to ‘Five Of Cups’ at bandcamp

Check out Brinkmanship from the first Patchwork Cacophony release:

Review – Maddison’s Thread – 60 Minutes An Hour – by Progradar

“Some journeys don’t have endings, they lead to new beginnings. These are the journeys that lead to great adventures!”
― Alex Haditaghi

The quote above perfectly sums up the way that music has affected my life. From a young age it has always been a journey with no ending. There have always been new avenues to explore, new adventures to undertake and the more your mind is open to new and differing experiences, the more fulfilling that journey will be.

Starting with the pop-punk of The Police and graduating to the new romantics of Ultravox, Simple Minds, Duran Duran and the like, my formative years were based more on the acts in the charts. As I grew older, my musical tastes changed and I went through the hair metal of the 80’s and early 90’s and even dipped a toe in the water of jazz and blues.

Eventually my heart found its home in the world of progressive rock, alternative rock and the ilk but I always had a penchant for something different, I was never one to pigeon-hole my musical tastes, if I like it, I listened to it. This mantra led to me hearing the first, self-titled, Maddison’s Thread album last year.

I was utterly impressed by the music and musician behind the project, Lee Maddison and it prompted these words from my review:

“Folk is rooted at the core of Maddison’s Thread but this album is all about the music and the way Lee can diversify with aplomb is very impressive. A contender for album of the year for me and one that will stay with me for a very long time.”

I became friends with Lee and that led to me being one of the first to hear the follow up to this little gem and I am proud to present the first review of ’60 Minutes An Hour’.

The span of a human life, the rising and setting of the sun, the changing of the seasons, the rhythm of the ocean’s tide, the ticking of a clock. ’60 Minutes an Hour’ is an album inspired by the passage of time and the different ways we experience it.

Each song deals with a different facet of the swirling prism of time. From the racing heartbeat of contemporary urban life in the title track through to the romantic glimpse of immortality in the dream like A Thomas Hardy Evening the album captures moments on our collective journey towards the Elysian
Fields.

Lee Maddison is Maddison’s Thread. He released his début eponymous recording back in 2015 and this ishis second album. He works full-time as a Mental Health Nurse but has still found time to perform at various folk festivals and gigs, opening for the likes of Michael Chapman and Gren Bartley.

In the past year, Lee was commissioned to write a song for the award winning Terry Abrahams ‘Life of a Mountain: Blencathra’ and performed the song at the premiere. This was the second film in a trilogy about iconic lakeland mountains.

The musicians appearing on the album are:

Lee Maddison (acoustic guitar & vocals), Nigel Spaven (bass), Darren Moore (drums), Stewart Hardy (violin & viola), Brendan Murphy (percussion), Paul Donnelly (electric Guitar & nylon String Guitar on tracks 3 & 12), Sue Ferris (flute), Fiona Beyer (cello), Tony Davies (piano & hammond) and Angus Lyon (accordion).

Edwina Hayes (described by Nanci Griffiths as the prettiest voice in England) duets with me on track 8 and sings backing vocals on tracks 11 & 13.

Produced by Stewart Hardy who also wrote all string arrangements.

The opening title track 60 Minutes An Hour is a salutary lesson in why we should take life at a slower pace before it passes us by and we’ve missed the wonder of what is right in front of our eyes. Lee’s apprehensive vocal admonishes us for taking things for granted, his delivery is as excellent as ever and the wonderful music just adds to the garded atmosphere. The delicate acoustic guitar soulful bass and elegant percussion add sophisticated emphasis while the incredibly expressive violin of Stewart Hardy provides angst among the graceful strings and the talented Angus Lyon’s accordion gives the finishing touches as it does all over the album. It might only be the first track but I’m already hearing an added maturity to Lee’s music and songwriting, the music gently insinuates itself into your conscious as if it has belonged there all your life.

More and more people suffer from anxiety attacks, a feeling that something or someone is chasing you through your life and the jazzy vibe of Chasing The White Dove expresses that perfectly through music. A slightly frenetic tempo and Lee’s insistent vocal only increases the feeling and Stewart once again adds his staccato violin to the heady mix of restlessness and disquiet. There’s an effortless feel to the musical delivery, a wonderful freedom to the way these excellent musicians deliver the message in a profound manner. A highlight has to be the infectious and captivating guitar that leaves its mark all over this high energy urban thrill ride.

I first heard the wonderfully scathing Parasiteful at a cellar gig that Lee did earlier this year (funnily enough at the house of Lee’s long time friend and photographer Howy White and his wife Amanda, who also happen to have done the pictures that litter this review (Howy) and the album art (Amanda), it’s a small world!) and really enjoyed the biting satire that lee injects into his songwriting. His vocal is hard and unforgiving as befits the subject matter of this mild mannered protest song. The laid back music plays second fiddle to the intelligent and acerbic lyrics this time as Lee delivers his most vehement piece of music yet.

A pared back folk tale of ne’er do wrongs, Charlatans & Blaggers puts you in mind of a local’s bar in a small fishing village in the wilds of the north. Tales told through the medium of music about local legends while the weather does everything it can to crash the party. The gentle guitar, easy going rhythm and percussion lay the foundations for Lee’s searching vocal and Stewart’s skill on the strings. An easygoing and unhurried ditty that leaves its mark with the catchy chorus that has me singing along, the bittersweet violin leaving a wistful note as the song comes to a close.

Another stinging rebuke to modern day, small town society, Tumbleweed has a laconic tone to it, enhanced by the slightly acerbic violin. A slightly ironic tune that, to me, seems to be about a younger generation stuck in a society with no opportunities. Lee’s distinctive vocal delivers the tale perfectly, there aren’t many folk singers out there to day who can stand comparison, and the edgy drums really add to the atmosphere while the super smooth bass keeps things ticking along nicely.

The Flycatcher (a cover of a Roy Harper song from his album ‘Unknown Soldier’) takes a winsome turn to sepia tinged nostalgia and the days of the past. The solemn, almost hushed vocals speak of looking back on days long gone, of things lost and yet never forgotten and the dynamic rhythm section and percussion deliver in a determined manner. The guitar almost has a voice of its own and marries with the dignified and reflective strings perfectly to give a really powerfully reflective edge. There is a melancholy feeling running throughout the song, the saddened voice keening for the past, of sorrow and not of hope.

I really feel that Lee has taken on a much more traditional folk direction with this new release and his version of Lines On A Fisherman’s Wife, a 19th century poem that has it’s roots in Hartlepool’s headland and that he wrote the music and chorus for, is a perfect example of this. Somber, downcast and yet sweetly earnest, it wears its heart on its sleeve. Telling the tale of the Fisherman’s wife, the worry and the drudgery of daily life, waiting for her husband to return but not knowing if disaster may have befallen him at sea. There is an ageless grace to the this song, a respect for those that deal with the wild nature of the sea on a daily basis and those who support them. The pared back delivery is sublime and you find yourself listening to it in hushed appreciation and deference as Lee’s reverential tone and the simple elegance of the music combine flawlessly.

There’s a timeless grace to Love Like Autumn where Lee and Edwina Hayes deliver a beautiful vocal performance full of sentimentality and wistfulness. A hint of country seeps into the music and it adds a carefree and untroubled note to the song. Stewart’s delightful violin is the coup de grace, at its most exquisite on this delectable elegant track, lay back with your loved one in your arms and just enjoy the simple wonder of the music.

Weightless feels just like that, ethereal and unsubstantial, the breathless charm of Lee’s vocal and the simple artistry of the piano and violin leave you feeling like your soul has left your body and is flying above you, the whole world in view below. A really short but lovely song that seems to leave a sense of loss behind as it comes to a close.

A heartfelt plea, Don’t Say Goodbye is a love letter to one who you don’t want to lose. Sincere and fervent, there is a mournful tone to Lee’s vocal as he makes his impassioned overture. The music is humble and modest leaving nothing to be misunderstood. The cello and violin are pillars of virtue and the guitar is a refined chaperone giving Lee’s entreaty validation. You are left hanging on a thread, wondering what the answer would be.

Another track rich in its folk heritage, Jessica is a perfect open letter to a loved one, it’s more simplistic lyrics Having even more meaning and power coming straight from the heart as they do. The playful, childlike music has a wide eyed wonder to it, Stewart once again excelling with his captivating violin playing. Lee and Edwina harmonise superbly on the chorus and you just find yourself caught up the overwhelming love and affection that this wonderful father has for his daughter.

A Thomas Hardy Evening is a romantic glimpse of immortality in a dream and is Lee’s take on the pure essence of life – reconnecting with the natural world. As the song fades in, you find yourself totally caught up in its whimsical, dreamlike delivery, every instrument seems to be played in a reverent fashion. The vocals just wash over you with their subtle elegance and I almost find myself rooted to the spot in a trance-like fashion. This song exhorts you to take a step back from the real world, forget the hustle and bustle and give your soul a chance to heal and your body to recharge. The subtle splendour of the strings and the delicate grace of the guitar appear to cleanse the stress and worries from deep within and you come to the end of the song a much happier and more relaxed person than when you started it.

A poignant memoir of family life and a coming of age tale, Fledgling leaves you caught in the last moments of a golden autumn. The fledgling of the title an allegorical creature that must go through the same trial and tribulations as every person who comes into adulthood. The flute taking on the role of the flying bird and giving it life through music. Lee tells us that the innocence of childhood is the same a s a bird flying free in the blue sky, it is a bittersweet tale of the loss of that innocence but then the hope of the future that is yet to come. Listen to the lyrics and let the pure guileless artistry of the music capture the moment for perpetuity, I was left with a lump in my throat as this brilliant song and album came to a close.

My lifelong musical journey has taught me that there will always be something of wonder around the next corner, a musical discovery that will enrich not just my life but many others also. The first time I heard Maddison’s Thread I was hooked and Lee has distilled the essence of everything that made the first album so good and injected it into his latest piece of musical brilliance. ’60 Minutes An Hour’ is an utter musical triumph and should be one of the highlights of 2017 for any lover of great music, I cannot praise it enough.

Released 6th Jan 2017

Pre-orders will be available soon from Maddison’s Thread bandcamp page

All pictures by Howy White

Album art by Amanda White

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